rg, your illustrations always open so many doors to new knowledge. I'd love to learn more about this work, which appears to have been quite something.
Googling "Les Cent Baisers" turned up the following about the composer -- and also about the conducting career of Anatol Dorati, a conductor who was almost omnipresent at the popular end of the classical recording spectrum when I was a kid.
Baron Frédéric d’Erlanger (1868–1943) was a banker and a composer of sufficient talent and reputation (and, possibly, financial resources) to have a violin concerto played by Fritz Kreisler. He was a naturalized British citizen whose father was German and whose mother was American. It appears that his banking activities didn’t inhibit his composing, for he wrote a good many compositions, many of which were performed. His score for the ballet Les cent baisers made enough of an impression to be partially recorded (I assume it runs longer than 16:25) by Antal Dorati.
D’Erlanger’s musical language appears to be the late-Romanticism of the celebrated Hollywood composers. It could pass for something written earlier, and is a charming, danceable score and, possibly, the only d’Erlanger piece to be recorded.
From 1933 to 1941, Dorati shared conducting duties at the Ballets Russes de Monte Carlo, a descendant of Diaghilev’s celebrated Ballets Russes, with Efrem Kurtz; they must have been a formidable combination. In 1941, Dorati left to become chief conductor for (American) Ballet Theater and also contributed several arrangements that became popular ballet scores: Graduation Ball (Johann Strauss, Jr.) and two Offenbach-based delights, Bluebeard and Helen of Troy. In 1946, he took over the Dallas Symphony Orchestra and, except for recordings, left the ballet world for good and went on to become the music director of several orchestras, including those in Minneapolis, Washington, DC, and Detroit, as well as several European orchestras—not bad for someone who believed that being perceived as a ballet conductor held back his career